The word ‘Ghibli’ per se refers to a Saharan hot and dry wind commonly known as the Sirocco. In Arabic language, ‘Ghibli’ is known as ‘Qibli or Kibli’, meaning ‘Southern’ for those Arabic nations who live in the North of Africa. The ‘Ghibli’ wind is most common during spring and autumn, and can blow at almost 60mph; it is this wind which is responsible for the dry, dusty conditions on the Mediterranean coast of North Africa. ‘Ghibli’ can last for days making life miserable and is therefore feared by the desert dwellers in that region. It can also have profound effect on the landscape by moving vast quantities of sand and dunes. Inspired by the Studio Ghibli’s unique and magical characters, the ‘Ghibli’ typeface is designed as a Latin free and literary serif typeface. It strongly expresses transition, imagination, sharpness, characterization, and modernization. It is a literary type that can capture the eyesight of readers and other observers with its acute and stylistic letterforms, dots, and numerals. It has transitional serifs and it is generally based upon the Latin printing style of the 18th and 19th centuries, with a pronounced vertical contrast in stroke emphasis (i.e., vertical strokes being heavier than the horizontal strokes). It has more regular forms in which serifs are bracketed and more symmetrical. The main characteristic of ‘Ghibli’ typeface is in its new designed serif letters. Special letters that can be described as having modern designs include small ‘g’, ‘p’ (with their open ends), ‘x’, and capital ‘B’, ‘P’, ‘Q’, and ‘R’ (with their open ends). ‘Ghibli’ typeface has also both of lining and old-style numerals which makes it more suitable for any literary and printing purposes. This gratuitous font comes in only two weights (i.e., Ghibli Regular and Ghibli Bold). It is absolutely preferable to be used in the wide fields related to literature and publication industry. This includes typing titles of diverse literary and academic books, readable texts of novels, novellas, short stories, prose, poetry, textbooks, newspapers, and magazines. It is also notable if chosen for designs that include movies’ titles, logos of academic institutions such as colleges and universities, organizations and associations’ names, medical packages such as those dedicated for tablets and syrups, and also other different educational and social materials. ‘Ghibli’ is simply a free literary typeface dedicated for all who want to write and read using a modern and stylish serif font. Enjoy it.

Ice Creamery is a new variation of our Saloon Girl font family complete with italics and fill fonts which may be used to layer different colors into the open parts of each glyph. We don’t recommend using the fill fonts for Ice Creamery as stand alone solid fonts, Ice Creamery Chocolate was designed as a the stand alone solid font for this font family. Fill fonts go back to the 1850's where they would design matched sets of printing blocks and the layering of colors took place on the printing press, they would print a page in black then on a second printing they would print a solid letter in red or blue over the letters with open spaces to fill them in. Most of the time the second printing didn't line up exactly to the open faced font and it created a misprinted look. With the fill fonts in Ice Creamery and other FontMesa fonts you have the option to perfectly align the fill fonts with the open faced fonts or shift it a little to create a misprinted look which looks pretty cool in some projects such as t-shirt designs. I have some ice cream making history in my family, my Grandfather Fred Hagemann was the manager of the ice cream plant for thirty years at Cock Robin Ice Cream and Burgers in Naperville IL. In the images above I've included an old 1960's photo of the Cock Robin Naperville location, the ice cream plant was behind the restaurant as seen by the chimney stack which was part of the plant. If you were to travel 2000 feet directly behind the Cock Robin sign in the photo, that's where I started the FontMesa type foundry at my home in Naperville. My favorite ice cream flavor was their green pistachio ice cream with black cherries, they called it Spumoni even though it wasn't a true Spumoni recipe. Their butter pecan ice cream was also incredibly good, the pecans were super fresh, their Tin Roof Sundae ice cream was chocolate fudge, caramel and peanuts swirled into vanilla ice cream. One unique thing about Cock Robin and Prince Castle was they used a square ice cream scoop for their sundaes.

Pekin is an unusual design with an oriental flavor. It was originally designed by Ernst Lauschke and released by The Great Western Type Foundry of Chicago as “Dormer,” which is similar to the French verb ‘to sleep,’ not exactly a marketing triumph. Barnhart Bros. And Spindler (independently-operated subsidiary of ATF since 1911) bought Great Western in 1918. According to McGrew, AMERICAN METAL TYPEFACES of the TWENTIETH CENTURY, BB&S renamed the typeface prior printing their 1925 specimen book — guess they wanted something just a tad more exciting. Quirky, distinctive and fun. Pekin ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 415 glyphs (compared to 218 glyphs in the original release). 2. 652 Kerning Pairs. Note: Ag, Aj and gj will cross unless kerned. Alternative A may also be used. 3. Added OpenType GSUB layout features: onum, salt, liga, dlig, hist, ornm and kern. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Refined various glyph outlines, based on improved scans. 6. Added set of Tabular Numbers at cap height, based on original design; added Old-Style Numbers based on default design. 7. Added a bunch of alternative characters: 18 upper case letters, 10 lower case letters, 1 ampersand and 1 bullet. The alternate c is actually the original design, but I don't like it - easily confused with e. Alt E H M h m n r t are from the original design. I added the rest. 8. 7 Ligatures, 4 Ornaments, 18 Geometric Shapes, 6 Arrows and 12 Misc. Symbols. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

It's a heavy and pop font that I imagined to be a naughty child. There are three kinds of "YanchaPop" which is easy to use with standards, "YanchaPopRounded" with a gentle impression which rounded the corner a little, "YanchaPopJitabata" of a cheerful image tilted randomly. It corresponds to Hiragana · Katakana · Alphabet · Numerals · Symbols · Kanji(chinese characters). You can also write vertically. You can use it easily, because it contains JIS first · second level, and IBM extended Kanji(about 6700chinese characters). This font is bold, recommended to use it for headlines and prominent places. It might be good for shop pop etc. I think it would be fun to make people around us happy like a naughty child. ＜「やんちゃポップ」紹介文＞ やんちゃな子供をイメージした、太めのポップ体です。 スタンダードで使いやすい「やんちゃポップ」、角を少し丸くした優しい印象の「やんちゃポップRounded」、ランダムに文字を傾けた元気なイメージの「やんちゃポップじたばた」の3種類がございます。 ひらがな・カタカナ・アルファベット・数字・記号類・漢字に対応。縦書きもできます。 漢字はJIS第一水準・第二水準・IBM拡張漢字（約6700文字）に対応しているので、使いやすいかと思います。 太めのフォントなので、見出しや目立つ場所に使うのがオススメです。お店のポップなどにもいいかもしれません。 やんちゃな子供みたいに、周囲の人たちを楽しくできるようなフォントになればいいなぁと思います。 ＜スタイルカテゴリー＞ ポップ体、角ゴシック

Mencap When most of us go about everyday tasks, we take for granted the reading that’s involved, on instructions, labels and so on. For people with learning disabilities, reading is made much harder by certain fonts. FS Me is designed specifically to improve legibility for people with learning disabilities. The font was researched and developed with – and endorsed by – Mencap, the UK’s leading charity and voice for those with learning disabilities. Mencap receive a donation for each font license purchased. Every letter of FS Me was tested for its appeal and readability with a range of learning disability groups across the UK. Inclusive Fontsmith were determined to design a font that was accessible to those with learning disabilities without standing out as such – one that was inclusive of all readers. It should comply with accessibility guidelines and work best at 12pt, but still have a character of its own that was warm and approachable. “So much accessible design is done separately to the main body of brand work,” says Jason Smith. “We wanted to make a typeface that covered both brand tone and neutrality, and that could be used legitimately as a brand font as well as in accessible design.” Me, you, everyone FS Me is about design that doesn’t patronise. People with learning disabilities are often treated as inferior by childlike design. FS Me is designed for adults, not children – a beautifully-designed font for everyone. Its features include very subtle distinguishing elements of each letter to aid the reading and comprehension of texts, and tails, ascenders and descenders that have been extended for extra clarity. What the people said... Here is a sample of comments from the extensive research groups that helped to shape the letterforms of FS Me: “I want something round, clear and friendly.” “We like movement in the letters but don’t want anything childish.” “The ‘b’ and ‘d’ need to be different as they can be confused.” “I prefer the handwriting-style ‘a’.” “It’s important to have an accessible ‘a’ and ‘g’. Teachers sometimes complain that learners cannot read or understand the inaccessible ‘a’ and ‘g’.”

Mencap When most of us go about everyday tasks, we take for granted the reading that’s involved, on instructions, labels and so on. For people with learning disabilities, reading is made much harder by certain fonts. FS Me is designed specifically to improve legibility for people with learning disabilities. The font was researched and developed with – and endorsed by – Mencap, the UK’s leading charity and voice for those with learning disabilities. Mencap receive a donation for each font license purchased. Every letter of FS Me was tested for its appeal and readability with a range of learning disability groups across the UK. Inclusive Fontsmith were determined to design a font that was accessible to those with learning disabilities without standing out as such – one that was inclusive of all readers. It should comply with accessibility guidelines and work best at 12pt, but still have a character of its own that was warm and approachable. “So much accessible design is done separately to the main body of brand work,” says Jason Smith. “We wanted to make a typeface that covered both brand tone and neutrality, and that could be used legitimately as a brand font as well as in accessible design.” Me, you, everyone FS Me is about design that doesn’t patronise. People with learning disabilities are often treated as inferior by childlike design. FS Me is designed for adults, not children – a beautifully-designed font for everyone. Its features include very subtle distinguishing elements of each letter to aid the reading and comprehension of texts, and tails, ascenders and descenders that have been extended for extra clarity. What the people said... Here is a sample of comments from the extensive research groups that helped to shape the letterforms of FS Me: “I want something round, clear and friendly.” “We like movement in the letters but don’t want anything childish.” “The ‘b’ and ‘d’ need to be different as they can be confused.” “I prefer the handwriting-style ‘a’.” “It’s important to have an accessible ‘a’ and ‘g’. Teachers sometimes complain that learners cannot read or understand the inaccessible ‘a’ and ‘g’.”

I was inspired to create the Rainier type family during my summer back home in the Pacific Northwest. The concept behind it may be simple - a hand crafted font family - but what it delivers is quite complex! Here is a breakdown of everything you get: FONT FAMILIES: Two sub-families with unique styles - Rainier North and Rainier West WEIGHTS: 4 weights per family, broken down numerically - 100 (light), 300 (regular), 500 (bold), 700 (black) OPENTYPE: In each family, there are tons of OpenType options, offering lots of customizable opportunities (in order to access all these goodies, you must be using Illustrator, Photoshop, Indesign or Publisher). Because Rainier is 100% handmade, contextual alternatives allow each letter has three subtle variations, this way it keeps that authentic hand-drawn look. Additionally, a full alphabet with special descending swashes, as well as start and end swashes for capitals and small caps. Titling alternatives offer a full character set just to help with readability! Meant for captions or smaller text, these letterforms are easy on the eye and a great complement to the regular alphabet. Stylistic Alternatives add a little fun, providing a unified cap height, no matter what case you are using (all caps, small caps or lowercase.) Discretionary Ligatures are created only for capitals, and takes specific letter pairs and creates a unique ligature between them To get a better understanding of everything, please check out the quicker user guide (http://bit.ly/1W0Bfma) and print if you so desire (http://bit.ly/23W9ZV6) that helps you navigate your way around and get the most out of Rainier! Unfortunately those links aren't working right now and soon I will have them fixed. So sorry! ORNAMENTS: In addition to the font, you get a set of awesomely rustic ornaments designed and drawn to go specifically with Rainier! - Rustic Northwest Illustrations - Banners & Flags - Frames - Flourishes - Lines & Line Breaks - Arrows There are a lot of extras packed in this set, so make sure you check out the Ornaments User Guide to get the most out of it! Check it out here: http://bit.ly/1rRVJRx And that’s all folks! Hope you enjoy Rainier!

This is a large group of typefaces inspired by those borders and patterns you see going across documents from the Middle Ages and Medieval times, eventually becoming this collection of fonts where you can scroll various repeating patterns across a page, for example. You can get a repeating pattern that scrolls seamlessly by repeating the same letter. The default text displaying on the web-page is bbbbbbbb, for example. There's over 2 dozen basic styles, and each style has 52 designs within it, using the characters Upper Case A - Z and lower case a - z, with the lower case being the negative/reverse colour of the Upper Case version, it will be the corresponding design just reverse coloured and with an edging strip. There's also a space - but nothing else. The styles in these fonts usually have groups of six characters (A to F, G to L, M to R, S to X), and where the second group is a variation on the first - usually thicker lines - and the third grouping is another variation on that, usually thicker lines again, making the first 24 letters. (Sometimes there's three groups of eight characters). The pattern within a group normally starts off plain then gets busier as it progresses - such as there'd be a more complex pattern of circles and diamonds as you go through the letters. Then the letters Y & Z are somewhat different to the rest. There's four versions starting with Z, and they're a little bit different, and they're grouped in fives - getting bolder as you progress through the letters, but with similar patterns within each group of 5, and that makes the first 25 characters. The letter Z character is extra busy. Again, lower case is the reverse colour of the Upper Case. Mostly you can get patterns and borders that combine seamlessly by using letters within the same group of 6 or 8 (like maybe abdcedcb). There are a few occasions when that doesn't work out, because there may be circles or diamonds at the sides of the letters that don't match up with another letter that has a different pattern at the side. But you can create a pattern with the exact level of complexity you want perfectly easily. You can see examples of this in the poster images. Neighbouring letters without embellishments at the sides of the letters will usually fit together. Have fun with it, that's what it's there for. aah yes fonts

This typeface is extrapolated from the ‘We the People’ calligraphy of the handwritten US Constitution Preamble which employed a style based on German Text and Square Text exemplars from George Bickham’s penmanship copy-books, the most celebrated being The Universal Penman published in 1743. The original Constitution document was transcribed onto parchment by Jacob Shallus, a Pennsylvania Assistant Clerk, over a weekend in 1787. Shallus’s biographer, Arthur Plotnik (The Man Behind the Quill, 1987), notes that he was paid $30, a modest monthly wage at the time. He also suggests that the calligraphic headings, ‘We the People’ and ‘Article’, may have been inserted by Shallus’s 14 year old trainee son, Francis, “The manner in which the ‘Article’ headings are squeezed into the space Shallus allowed for them suggests a second hand—and perhaps not a very experienced one.” The unconventional backslant of the headings would seem to support this contention, and at the end of the document there is perhaps a novice’s inconsistency in the structure of the letter n between that used for ‘done’ and those used for ‘In Witness’. However, one has to admire the elegant swagger of the wavy t, h and l which the K-Type font extends to the b, f and k. Also, the simpler, Schwabacher-style W, an enlarged version of the lowercase w, is a little less flamboyant than the capital W from the German and Square texts in Bickham’s manuals. For designers using OpenType-aware applications, the typeface includes some Alternates, including a Bickham-style W, the letters t, h and n with added flourishes, two simpler forms of the A, and a few roman numerals for numbering articles. Also some ornamental flourishes and a round middle dot/decimal point. Punctuation marks are drawn in square, calligraphic style, but an alternative round period/full stop, for use with currency and numerals, is available at the period centered position (though placed on the baseline), accessed by Shift Option 9 on a Mac, or Alt 0183 on Windows. The full phrase, ‘We the People’, has been placed at the trademark keystroke and can be accessed by Option 2 (or Shift Option 2) on a Mac, or Alt 0153 on Windows. For designers who find the backslant awkward or unpleasant, the licensed typeface also includes two additional fonts which have a vertical aspect that may be more conducive to graphic design layouts. ‘We The People Upright’ and ‘We The People Upright Bold’ both retain the distinctive style, and the heavier weight is only slightly emboldened, just enough to add some punch.

While researching the history of Onitsuka Tiger's branding and graphic design, I came across an odd, yet highly appealing piece of custom lettering on the company's ONICK ski boots from the 1970s. Reminiscent of aspects of the typeface Black-Out by Eli Carrico (released by my type foundry Wordshape), yet vertically compressed with razor-sliced counters and odd stencil element that makes up one of the legs of the "K", the ONICK lettering is a potential source for an intriguing modular font. I immediately thought of Ryoichi Tsunekawa as a potential collaborator to bring this piece of lettering to full-fledged life in the contemporary context. Based in Nagoya, Tsunekawa runs an independent type foundry called Dharma Type, including three specialized foundry sub-labels: Flat-It, devoted to display lettering; Prop-A-Ganda, a series of fonts inspired by and based on retro propaganda posters, movie posters, retail sign lettering & advertisements in the early 20th century; and Holiday Type, a series of decorative and retro scripts for holiday use. The past year has seen a flurry of notice of his work abroad, having been featured in both MyFonts' "Creative Characters" and YouWorkForThem's newsletter. As the work of most Japanese type designers is almost wholly unnoticed abroad, for Tsunekawa to be interviewed by two of the most popular type distribution companies in the world is definitely something beyond the norm. Perhaps it is because he works independently, or perhaps it is due to the charm and friendliness with which his typefaces are infused. Either way, this attention is both welcome and appreciated. Beyond mere charm, Tsunekawa's work is nuanced, detailed, and accessible due to its high level of finish. His fonts stand apart from his contemporaries in Latin typeface design in Japan due to his fascination with pop, vernacular and historical lettering from "non-pure" sources- whereas type designers like Kunihiko Okano and Akira Kobayashi have spent years analyzing the essence of Western letterform construction and unlocking the essence of Latin forms, Tsunekawa views surface and the awkward nature of his sources as being of value, as well. His irreverence for the formal doctrines of history imbue his typeface designs with a rugged inventiveness that would be missed by most- glyphs without source designs are guessed at and approximated, often in a manner wildly divergent from what Western eyes would assume. It is in these moments that I find sheer delight in Tsunekawa’s work and what make me most pleased to invite him aboard Neojaponisme and Onitsuka Tiger’s type development project. His assorted typefaces show an eclecticism in finish and as holistic systems- Tsunekawa's return email to me about the proposed type project showed a digital sketch of how a completed typeface family from the source lettering might look, rendered with an effortlessness and dedication to detail that belies a skilled craftsperson. Further development showed Tsunekawa’s rigor- the typeface in development rapidly featured glyphs ignored by many: a full set of fractions, Eastern European diacritics and accents, superior and inferior numerals, alternate characters, and custom ligatures - all designed with regulated, detailed spacing. ONICK is a typeface Tsunekawa should be proud of- an homage to a moment in history rendered in the absolute best fashion. We are proud to present it to the world! --Ian Lynam

The story of Freigeist is a journey into the past, back to the early grotesk fonts and long before Helvetica and Co were standard fonts in operating systems. For what we take for granted today is the result of innovation and pioneering spirit of type foundries such as Caslon or Stephenson Blake in the 19th century, whose expressive designs are mostly forgotten today. The Freigeist family captures this untamed spirit — hence the name (German for “free spirit”) — and puts it into a contemporary context, resulting in a multi-faceted family with a wide range of applications, font styles and features for modern typesetting. Design Details Unlike other modern grotesk typefaces like Helvetica or Univers, Freigeist is characterized by a warm and dynamic appearance. It draws inspiration from various historical models such as Caslon’s Doric or the Grotesque variants of Stephenson Blake. Particularly noticeable are the narrow terminals, the serpentine S or the dynamic g in combination with ascenders that reach to the cap-height only. Italics Many italic grotesk fonts are strongly oriented towards their upright counterparts. Unfortunately, this often means that they cannot do justice to their actual task, which is to highlight words or sections of a text. The italic cuts of Freigeist try to remedy this situation by using the greatest possible formal distance while reinforcing the untamed spirit. What adds to this, is a reminiscent of handwritten forms, which can be found in a, n, y or g, as well as the German sharp s or the ampersand. Alternate Characters Alternative letterforms are ideal for customizing the overall appearance of a text, for usage in logos or they can even work as custom fonts for companies. Freigeist comes with ten stylistic alternatives that are easy to insert via the Opentype window, such as the single-storey a, a tail-less version of the a for compact text, when uses in condensed widths or a dialed down version of the r. Languages Freigeist has a built-in support for Latin and Cyrillic based languages and covers more than 210 languages. Opentype Features and Symbols The family comes with many opentype features to support modern typesetting. This includes ligatures, different number sets or alternative shapes for texts set in all caps. Styles Freigeist is available in five widths (XCon, Con, Normal, Wide, XWide) and six weights (Thin, Light, Regular, Medium, Bold, Black). Including the accompanying italics, the family comes in 60 cuts that are suitable for any application. Testfonts If you like to test the fonts before buying the full version, please follow the link below: https://www.renebieder.com/test-fonts Update 1 A lot has changed in this first update. It is more than just a 1.01 or 1.02. It is actually the 2.0! I’ve gone through all! single glyphs of the 18 master files, making the family more sharp and even a bit more modern. I’ve added some new opentype features and redesigned the italics, because I wasn’t happy enough with the result. I’ve added new kerning pairs, new metrics, and even new glyphs. Please check my website for more details on the new design and overview about the opentype features and alternate shapes. If you purchased the Freigeist family already, thanks a lot!! It is the most advanced family that I published so far. I hope that you’re happy with this new version. Thanks!

“Hand Stamp Gothic Rough” is based on real vintage rubber stamp letters from Germany. A classic american gothic face mixed with a modern condensed sans serif type. Rough & dirty with a authen­tic hand stamped look for a warm analogue vintage charm. It star­ted ana­lo­gous with only a few rubber stamps and finally it was digi­tal 776 gly­phs. With 4 × A–Z, 4 × 0–9, 4 × a–z and many other alternative glyphs like @. Plus modern OpenType Features like contextual alternates (automatic generated loop for letter variation). The different variations from the dynamic pressure by hand inten­ded to show the hand-made nature and crea­tes a live­li­ness in the display font. The font has 80 decorative extras in the form of symbols & dingbats like arrows, hearts, smileys, stars, further numbers, lines & shapes. A range of figure set options like oldstyle figures, lining figures, superiors & inferiors. Additionally stan­dard liga­tures, deco­ra­tive liga­tures (type the word “show” for ☛ and “love” for ❤ … ), Ver­sal Eszett (German Capital Sharp S) and many emojis & symbols. Example of use It’s your turn … for example everywhere where it makes sense. The hand stamped font would look good at head­lines. Advertising (big headlines), Corporate Design (type for logos & branding), Edi­to­rial Design (maga­zine or fan­zine headlines), Product Design (typographical packaging) or Web­de­sign (head­line web­font for your web­site), flyer, pos­ter, music covers or web banner … How To Use – awesome magic OpenType-Features in your layout application: ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the Glyph panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may process a little bit slowly in some applications, because the font has a lot of lovely rough details (anchor points). Tech­ni­cal Spe­ci­fi­ca­ti­ons ■ Font Name Hand Stamp Gothic Rough ■ Font Weights Regu­lar & Dirty (Bold) ■ Font Cate­gory Dis­play for head­line size ■ Font For­mat.otf (Open­Type Font for Mac + Win) ■ Glyph Set 776 glyphs ■ Lan­guage Sup­port Basic Latin/English let­ters, Cen­tral Europe, West European diacritics, Turkish, Bal­tic, Roma­nian, OpenType Features, Dingbats & Symbols ■ Spe­cials Alter­na­tive let­ters, sty­listic sets, automatic con­text­ual alter­nates via Open­Type Fea­ture (4× different versions of A–Z & 0–9 + a–z), Euro, kerning pairs, stan­dard & deco­ra­tive liga­tures, Ver­sal Eszett (German Capital Sharp S), 80 extras like Dingbats & Symbols, arrows, hearts, emojis/smileys, stars, further numbers, lines & shapes. ■ Design Date 2016 ■ Type Desi­gner Manuel Vier­gutz ■ License Desktop license, Web license, App license, eBook license, Ser­ver license

Vintage Museum - Vintage Sans Display Font. Vintage Museum is inspired by the classic font style and elegant sans. Vintage Museum font makes for more good display, classic and retro lively. Vintage Museum has a surprise from alternate that will make your work even more beautiful. Vintage Museum is perfect for a professional touch which makes it even more unique and classic. But Vintage Museum is also suitable for logos, branding, greeting cards, invitation cards, advertisements, titles, healines, book titles, stickers, packaging, quotes, posters, t-shirts/apparel, billboards and others. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

Falkosta is a decorative retro script typeface. Drawn and created by Mans Greback in 2022, this cursive lettering has a distinct style and a strong personality. Use it for a vintage logotype, a print for your business or as a headline for an article. Use underscore _ anywhere in a word to make a swash under the word. Example: Love_ Write # or ¤ after any letter to make a swash version. Example: Me# & You¤ Use multiple underscores for longer swashes. Example: Superman_______ (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Sacred North is a beautiful, stylistic uppercase display font inspired by Scandinavian history and culture. It features elements of nordic elegance that is so popular in brands these days, combined with runic elements of the Viking Age. I'm from Denmark myself (and live in wonderful Copenhagen), so I've pulled inspiration from my everyday surroundings too. The uppercase letters have a decorative, geometric appearance while the lowercase letters feature a more elegant and simple appearance which means the two variations complement each other really well and allow for versatile design options – it's almost as if they were two different fonts. This font works perfectly for headlines, quotes, posters, brochures, packaging, T-shirts, postcards, logos and so much more. Product Content: - Character set A-Z - Includes 208 characters that covers all major Western languages. - Numerals & Punctuation If you have any questions, send me a message and I'm happy to help!

Here is a decorative condensed antique design that is sure to fit a variety of contemporary situations. The Bruce Type Foundry (later acquired by V. B. Munson) developed this wonderfully shaded Tuscan in the 1880s - or possibly earlier. It was known back then as Style No. 1050 and carried a pronounced three-dimensional look with a thin hairline at the bottom and right of each stroke. It is best to use Frisco Antique in large display sizes because it is easy to lose these delicate hairlines. A lowercase and several alternate characters have been provided for your convenience. Frisco Antique Display is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Boutiera is an upright and soft vintage script with a modern twist. Its main characteristics are bouncy baseline, round forms and bumpy stems. These qualities gives Boutiera its casual, friendly and handmade looks. It has three weights to give contrast and options to your typographic elements and designs. Boutiera has two sets of Upper cases; Slightly swashy and more basic one. The more basic set can be used in all caps. Boutiera has positional alternate characters; Initial forms to letters like r, s, x and z. And final forms to all lower cases. Those final forms have a shortened upstroke to give more balanced and harmonized look. You can use these easily by enabling Contextual Aternates from OpenType menu. It also has alternate versions of letters t and s. You can use Boutiera on logos, packages, on titles or wherever you need a friendly and lively font.

Campeche is an expressive yet functional typeface family. Seeking to express its beauty, it twists the conventions of classic typography when necessary. Campeche finds its inspiration in the grotesque typefaces of the late 19th century coupled with a typical Latin American playful sense that gives it a modern freshness. The initial form arises from the idea of expanding Seriguela, evolving along the way, becoming its own system with a unique personality. Campeche is designed for today's requirements. It is available in two styles and three widths, from condensed to extended, with 9 weights each, totaling 54 fonts, in addition to the variable version. Campeche is a comprehensive typographic system that provides versatility for almost any use. It can be used for packaging, editorial, branding... etc. The mix of widths and between the normal and display versions can generate complex graphic parts or systems with different levels of hierarchy, without losing unity.

In the late 1990s Gerard Unger won the assignment to design the signage system for the Holy Year celebrations to be held in Rome in 2000. The system he developed in cooperation with the design agency n|p|k used a classically inspired serif typeface, but the earlier proposals included a sans-serif, which became Vesta (2001). Vesta is a versatile family that can be used as a display face alongside Unger's serif faces Gulliver, Capitolium or Coranto; it can also be used on its own, even in longer texts. Vesta is narrower and therefore more economical than some commonly used sans serifs such as Arial and Helvetica; there is also a noticeable contrast between thick and thin parts, which makes it more lively. Vesta is to be extended with narrow versions, small capitals and old style numerals, along with some special versions for headlines.

Eskorte is a diligently designed Latin type family with an uncomplicated, engaging poise that conveys a crisp, businesslike tone. Its precise range of styles looks to no-nonsense efficiency and ease of use by non-designers in the office and text-intensive professional environments. Eskorte supports over ninety languages in a full range of weights, with both upright and matching italics. The italics are lively, fluid forms that infuse their charms into text settings or take on their own personality in large, dominant headlines. In concert with the hardworking upright styles, the two fit smartly into a range of publications, from corporate to casual. All of the weights and styles offer an adept set of features like small caps, case-sensitive punctuation, and both tabular and proportional figures to make short work of any typographic task. Whether employed in enterprise reports, lifestyle publications, or identity work, Eskorte is ready for business.

As comic book readers know all too well, team ups are every super hero’s bread and butter... when the brave and the bold are in a pickle, and super villains are running onion rings around them, here’s how they roll: They Meat! They Team-Up with your taste buds! They Fight Hunger! Yes, some hero combos may get along better than others, but they are always more powerful together. So take a footlong bite out of crime, and make the subways safe again with our mouthwatering HERO SANDWICH! Prepared with plastic gloves on by those awfully nice chaps at the Comicraft deli. Anyway you slice it, these five Ingredients can be layered to generate a Hero Sandwich with the carbs and protein you need to deliver a knuckle sandwich to the bulking agents of your deadliest foes! See these families related to Hero Sandwich Ingredients: Hero Sandwich Combos Hero Sandwich Pro

Hargloves sans remixes between grotesque proportions and 80’ industrial inspired-typefaces. Yes, it is a major improvement from original Hargloves fonts with completely different projections. Hargloves Sans intended primarily for text, editorial or long-form text. This new design emphasized on reader joy experience when reading text without losing typeface characters. Hargloves Sans support almost all Latin script language, roughly around 356 latin language according to hyperglot analytics. This language coverage is heypentype priority to serve all possible Latin script language all over the world. The premise is simple, because it is text typeface it should cover all Latin script languages whether its popular language or not. Hargloves Sans have a higher x-height compared to Hargloves. Higher x-height will give a seamless, undistracted reading. The open counter on nearly squared proportions is Hargloves Sans main character. There’s a lot of feature coming for this typeface in the future.

The font name comes from the Dutch word "Rijk" meaning "rich". I'd like you to consider Rijk as a good Pinot Noir: medium bodied, offering succulent juicy berry flavors, accentuated by delicate aromas of coffee and vanilla oak. Ruby red in color, it boasts of velvety tannins and a long fulfilling fruity aftertaste. Rijk has a structure that is delicate and fresh. The aromatics are very fruity like cherry, strawberry, and plum, often with notes of tea-leaf, damp earth, or worn leather… My intent was to create a script that is rich, while not overbearing. It will serve many noble and useful purposes because of its fresh and lively texture. It is also very legible because it has a slightly more upright angle. Use Rijk for headlines, packaging, identities, advertising and online. Available in OpenType, it includes a range of ligatures as well as a full range of class kerning.

Nature Boy was born in a fantasy world of old, where you can find magic, elegance, dreams and fun all together... just like nature in its purest form with its leafy curves and shapes that make it peacefully enjoyable. Soft and simple yet fairly ornamental, attributes that create an enchanting atmosphere but keep the texts legible at the same time when combined. Nature Boy can bring life and magic to every design, from editorial to posters, brands and packagings. Just picture this font on any product intended to move your soul and take you on a journey into a different and most beautiful place and time and let the adventure begin. This font family is made up of optically corrected regular, italic and bold types. All of them contain functional ligatures with alternative glyphs for texts and words to be dynamical and fluently graphed.

Classic Cassette - Classic Display Font. This font is inspired by the classic style and well display curves. Classic Cassette font makes for more fun, trendy and more lively. Classic Cassette has a surprise from alternate that will make your work even more beautiful. Classic Cassette is perfect for a professional touch which makes it even more unique display and classic themes. But Classic Cassette is also suitable for logos, branding, greeting cards, invitation cards, advertisements, titles, healines, book titles, stickers, packaging, quotes, posters, t-shirts/apparel, billboards and others. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. Classic Cassette is also support multi language.

Living from 1545 in Lyon, France, the famous punchcutter Robert Granjon created a typeface that looked like his own handwriting. The first book printed with this font, in 1557, was probably Dialogues de la vie et de la mort by Innocent Ringhier. We offer the complete typeface. It is a charming font with historical forms (long s, final s and others) and many ligatures, enriched with accented letters and other characters that did not exist in the original (thorn, eth, lslash and others), and a lot of alternates that permit rich and varying typography. Warning: all characters appear with the 1500s manual blackletter old style, especially letters “e” “r” or “h” alternate and some ending forms, and may be difficult to read at first, but it quickly becomes very easy. The font contains all characters for Baltic, Western European (Including Celtic), Eastern European, Northern European, and Turkish languages.

P22 Graciosa is a five font family based upon designs for a metal type by Carlos Winkow (1882–1952), a German type designer who lived and worked in Spain in the early 20th Century. Graciosa is a sort of hybrid blackletter/text font, with simplified blackletter caps and a serifed lowercase with subtle script flare. There is a Regular, Black, an open version called White, and an engraved version called Gris. The version called Multi serves as a fill font to allow for multi-colored layering options. A revival of these designs was initiated by Matthias Beck in 2015. The character set was expanded for use in 21 languages (OpenType Standard). The digitization and reintroduction of these old fonts—created in Spain and practically forgotten—makes them regain a new life. This project was subsidized by the Spanish Ministry of Education, Culture and Sport.

HWT Artz is the newest wood type to be cut at Hamilton Wood Type and Printing Museum. It was designed by venerable type designer Erik Spiekermann exclusively for his own print studio (P98a in Berlin), specifically to be cut into large size wood type. The digital version is being offered to the general public with proceeds of sales to benefit the museum's ongoing operations. HWT Artz evokes bold early 20th century European poster lettering. The design itself is intended to minimize hand-finishing and thus production time with rounded corners rather than sharp interior corners that would normally have to be hand-finished. In keeping with the tradition of naming new Hamilton designs after key figures from the living history of Hamilton (and following Spiekermann's tradition of four letter font names), Artz is named after Dave Artz- Hamilton Manufacturing retiree and master type trimmer.

As comic book readers know all too well, team ups are every super hero’s bread and butter... when the brave and the bold are in a pickle, and super villains are running onion rings around them, here’s how they roll: They Meat! They Team-Up with your taste buds! They Fight Hunger! Yes, some hero combos may get along better than others, but they are always more powerful together. So take a footlong bite out of crime, and make the subways safe again with our mouthwatering HERO SANDWICH! Prepared with plastic gloves on by those awfully nice chaps at the Comicraft deli. If you're an avenging hero on the go, have no fear, we've pre-assembled these eight classic Hero Sandwich Combos! Because choosing your fillings shouldn't get in the way of knocking out a supervillain’s fillings. See these families related to Hero Sandwich Combos: Hero Sandwich Ingredients Hero Sandwich Pro

Welcome to our Plesis Brush Display Font! It's a lively, unique handwritten typeface that injects a contemporary and enjoyable twist to your forthcoming assignments. It equips you with everything you require - uppercase, lowercase, numbers, punctuation, and symbols- and even supports multiple languages. Plesis is the typeface for every occasion! Utilize it for presentations, logos, headlines, handwritten styles, posters, branding, uplifting quotes, titles, layout of magazines, web design, adverts, invites, cover artwork, and any other inventive project on your list. What does the Package Contain? - Typeface Weight: Regular The Plesis Typeface is filled with: - Capital Alphabets (Uppercase) - Small Alphabets (Lowercase) - Numerals & Symbols - Multi-language Support Let's take a quick look at the supported characters: - All the alphabets from A-Z (uppercase and lowercase) - All the numerals from 0-9 - All these special characters - !"#$%&'()*+,-./:;?@[]^_`{|}~¥ - And a selection of global characters like ¡¢¤§¨©«­®±´¶¸»¿ÀÁÂÃÄÅÇÈÉÊËÌÍÎÏÑÒÓÔÕÖ×ØÙÚÛÜÝÞßàáâãäåçèéêëìíîïñòóôõö÷øùúûüýþÿŁłŠšŸŽžˇ‘’‚‛„†‡…‰€™

Introducing “Kidyba Font” – Where Playful Typography Takes Center Stage! Unleash your creativity with Kidyba Font, a whimsical display typeface that injects fun and energy into your designs. Kidyba Font is the perfect choice for projects that require a playful touch. Its charming and lively characters make it ideal for children’s books, eye-catching posters, and playful branding that stands out. With Kidyba Font, your designs will instantly capture the essence of playfulness, drawing your audience in. Whether you’re designing a cheerful invitation or a vibrant logo, this font adds a joyful and spirited element to your work. Elevate your creative projects and let your imagination soar with Kidyba Font. Infuse your designs with a sense of fun and wonder, and watch as they come to life with this delightful typeface. Embrace the playful spirit of Kidyba Font today! – PUA Encoded Characters – Fully accessible without additional design software.

Fonts are Inhuman and Human Fonts are IN! Now, the Comicraft Cybernetics Corporation is proud to announce the first in a new line of fonts with GFP... Genuine Font Personalities. Paranoid Android is an outer alloy, inner void, solitary solenoid GFP prototype -- you can tell, can't you? Finally a font that knows its place as a digital servant to the human race. What will Comicraft think of next? No, don't bother to answer that, Comicraftsmen are fifty thousand times more intelligent than you and even they don't know the answer. Warning: Nothing left to be enjoyed, every diode rheumatoid*, terminally Paranoid Android is not so much a font, and more a kind of electronic sulking device. Share and Enjoy! *The moving parts on the left side of this font are in a solid state. It may sit in a corner and rust, or just fall apart where it's standing.

Burchelli - Bold Display Sans Font. Burchelli font makes for more fun, trendy and more lively. Burchelli is inspired by the extra bold font style and display sans. Burchelli has a surprise from alternate of sans serif that will make your work even more beautiful. Burchelli is perfect for a professional touch which makes it even more unique display and classic themes. But burchelli is also suitable for logos, branding, greeting cards, invitation cards, advertisements, titles, healines, book titles, stickers, packaging, quotes, posters, t-shirts/apparel, billboards and others. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

As the first multi-font family designed for the CounterPoint font library, Plectrum offers designers and font lovers an alternative to the usual display style fonts of CounterPoint with a low key yet elegant sans serif family that can serve a variety of functions. Designed as a humanist style sans serif, the letters have variation in stroke weight. The italic faces have some variation in the letter design making them more of a true italic rather than simple oblique faces. The complete family consist of four weights: Regular, Italic, Bold and Bold Italic which can be purchased separately or as a complete package. The typeface has some unique features which add warmth to the design such as a slanted cross bar on the lowercase e and a large x-height. This is a solid, versatile family. Available in OpenType and contains support for Latin based and Eastern European languages.

insigne is pleased to present new Christmas ornaments as the latest in the Blue Goblet series, a series of fonts and ornaments by artist Cory Godbey. This best-selling series has now been extended to include a new Christmas-themed member. Hand drawn by the artist, the Blue Goblet additions are a fun and lively take on Christmas ornaments. Expressive and spontaneous, these ornaments seem to dance their way across the page. They can be used in conjunction with the original Blue Goblet Ornaments and the Blue Goblet fonts, which include both a sans serif and serif member. Combine them to form interesting compositions, or insert them directly into your layout as chapter headings or illustrations. There are over 60 of the Christmas-themed ornaments, including Christmas trees, bows, ivy and more. Check out the .pdf or the promotional graphics to see all of these great options.